The Hampton Court Beauties are a series of 8 portraits by Sir Godfrey Kneller, depicting the most glamorous ladies from the court of William III.

The Hampton Court Beauties are a series of 8 portraits by Sir Godfrey Kneller, commissioned by Queen Mary II of England, depicting the most glamorous ladies from the court of William III. They adorn the state rooms of King William III at Hampton Court Palace. Hampton Court also houses the so-called Windsor Beauties by Sir Peter Lely, depicting the most beautiful ladies of the court of King Charles II of England, a generation before. The Hampton Court Beauties are of a plainer, less erotic style reflecting the change in opinion towards women during the latter half of the seventeenth century.

Sir Godfrey Kneller, (1646-1723)

Lady Mary Bentinck (1679-1726), wife of Algernon, 2nd Earl of Essex

circa 1700

Oil on Canvas

61.8 x 51.5 cm (24 x 20 1/4 in)

Mary Capel, Countess of Essex (1679 – 20 August 1726), born Lady Mary Bentinck, was the daughter of William Bentinck, 1st Earl of Portland, a Dutch and English nobleman who became in an early stage the favourite of stadtholder William, Prince of Orange (the future King of England) and his wife Anne Villiers (died 30 November 1688).

Mary’s grandfather Sir Edward Villiers fought on the Royalist side during the English Civil War.  He was implicated in a plot to assist the escape of the Duke of York, and fled aboard where he continued to work for the Royalist cause. His wife Lady Frances Howard meanwhile secured places at court for four of her daughters, Anne, Elizabeth, Barbara and Katherine who were appointed as Ladies of the Bedchamber to the young Princesses Mary and Anne.

When William and Mary became joint monarchs following the Glorious Revolution young Lady Mary Bentinck came with them as one of the new Queen’s ladies in waiting.

In 1698 Mary married Algernon Capell, 2nd Earl of Essex. Algernon joined Mary at Court where he held the office of Gentleman of the Bedchamber to William. He served as Colonel and Lieutenant General in the 4th Dragoons, was Constable of the Tower of London and Lord Lieutenant of Hertfordshire and in 1708 a Privy Councillor.


Algernon died in 1710 and in 1714 Mary married the Rt Hon Sir Conyers Darcy.  Mary died in 1726 aged 47 years old.  She led a full and busy life and her memory lives on – in the evocative Kneller portrait. More

Sir Godfrey Kneller, (1646-1723)

Mary Scrope, later Mrs Pitt (b.1676)

Signed and dated 1691

Oil on canvas

232.3 x 143.4 cm

Mary Scrope (b.1676 - died 25 August 1548) was the granddaughter of Henry Scrope, 4th Baron Scrope of Bolton. She is said to have been in the service at court of King Henry VIII's first four wives. As the wife of Sir William Kingston, Constable of the Tower of London, she was in attendance on Anne Boleyn during the Queen's brief imprisonment in the Tower in May 1536, and both she and her husband were among those who walked with the Queen to the scaffold. By her first husband, Edward Jerningham, she was the mother of Sir Henry Jerningham, whose support helped to place Queen Mary I on the throne of England in 1553, and who became one of Queen Mary's most favoured courtiers.

Mary Scrope was one of the nine daughters of Richard Scrope. Her mother was Eleanor Washbourne (d.1505/6), the daughter of Norman Washbourne (1433-1482).

On 11 May 1509 Mary Scrope's first husband, Edward Jerningham, was one of the gentleman ushers at the funeral of King Henry VII, and Mary herself, as 'Mrs Jerningham', was among the ladies granted mantlets and kerchiefs for the funeral. On 12 June 'Edward Jerningham and Mary his wife' were granted a life estate in the manors of Lowestoft and Mutford. On 24 June Edward Jerningham was chief cup-bearer at the coronation of Catherine of Aragon, and Mary, listed as 'Mrs Mary Jerningham', was among the ladies granted cloth for gowns for the occasion. From 1509 until 1527 Mary is said to have been one of the ladies who served the Queen.

Her first husband, Edward Jerningham, died in 1515, and by 1532 she had married Sir William Kingston, who had been appointed Constable of the Tower of London on 28 May 1524. In May 1536 Anne Boleyn, second wife of King Henry VIII, became Kingston's prisoner. During her brief time in the Tower, Anne was attended by four women who had served either Catherine of Aragon or her daughter, Mary, and who were said to have been chosen by Thomas Cromwell because they were 'unsympathetic' to Anne. Kingston's original instructions from Cromwell were to discourage conversation with Anne. 

After the death of Anne Boleyn, the King married Jane Seymour, and at the christening of their infant son Prince Edward on 15 October 1537, Lady Kingston carried Mary Tudor's train. A few weeks later, on 12 November 1537, she was one of the twenty-nine women who walked in the funeral procession of Jane Seymour.

In 1536 Lady Kingston is said to have played a role in Mary Tudor's reconciliation with her father. Lady Kingston had charge of a joint household for Henry VIII's daughters, Mary and Elizabeth, from March 1538 until April 1539. Even after she was discharged from that position, Lady Kingston's continuing relationship with the King's elder daughter.

In 1539, Lady Kingston was among thirty ladies of the court appointed to serve as "ordinary waiters" to Anne of Cleves. According to some sources, Lady Kingston was in the service of all four of King Henry VIII's first four wives. Lady Kingston was even listed as a member of Henry's last queen consort, Catherine Parr's, household.


Lady Kingston made her will in 1548, and died on 25 August of that year. More

Sir Godfrey Kneller, (1646-1723)

Carey Fraser, Countess of Peterborough (c. 1658 – 13 May 1709) 

Signed and dated 1690-91

Oil on canvas

232.3 x 143.4 cm

Carey Mordaunt (née Fraser), Countess of Peterborough and Monmouth (c. 1658 – 13 May 1709), was an English courtier. She was a maid of honour to Charles II's queen consort, Catherine of Braganza, from 1674 to 1680.

Her father was Sir Alexander Fraser, 1st Baronet, of Durris in the County of Kincardine (1607–1681), physician to Charles II, and her mother was Mary Carey, daughter of Sir Ferdinando Carey and Philippa Throckmorton.

In 1678 she married Charles Mordaunt, 2nd Viscount Mordaunt (1658–1735), later 3rd Earl of Peterborough, and created Earl of Monmouth (in 1689). The marriage was, however, kept secret until May 1680. More

Sir Godfrey Kneller, (1646-1723)

Frances Whitmore (1666–1694), Lady Myddelton

c.1686

Oil on canvas

124.5 x 101.5 cm

Frances Whitmore (7 November 1666 - 1695) She was the daughter of Sir Thomas Whitmore and Hon. Frances Brooke. She married Sir Richard Myddelton, 3rd Bt., son of Sir Thomas Myddelton, 1st Bt. and Mary Cholmondeley, circa 1685/86. She died after 1695.

Her married name became Myddelton.

As one of the Hampton Court Beauties, Frances Myddelton (Nee Whitmore) was known as Lady Myddelton, coincidentally, her husband's aunt is the Mrs Myddelton of the Windsor Beauties and her own Mother is Lady Whitmore of the Windsor Beauties. More

Sir Godfrey Kneller, (1646-1723)

Lady Mary Compton (1669 – 6 August 1691)

c.16

Oil on canvas

124.5 x 101.5 cm

Lady Mary Compton (1669 – 6 August 1691), later Mary Sackville, Countess of Dorset, was a member of Queen Mary II's court She was Lady of the Bedchamber to Queen Mary II.

Her father was James Compton, 3rd Earl of Northampton (1622–1681), and her mother was Hon. Mary Noel (died 1719). In 1685 she married Charles Sackville, 6th Earl of Dorset (1637–1705), KG.

They lived at Copt Hall, Waltham Abbey, Essex. More

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Sir Godfrey Kneller, (1646-1723)

Diana De Vere, Duchess of St. Albans (c. 1679–15 January 1742) 

c. 1691

Oil on canvas

124.5 x 101.5 cm

Diana Beauclerk, Duchess of St Albans (c. 1679–15 January 1742), born Lady Diana de Vere, was a British courtier. She was Mistress of the Robes to Caroline, Princess of Wales from 1714 to 1717. 

She was the daughter of the Aubrey de Vere, 20th Earl of Oxford and Diana Kirke. On 17 April 1694, she married the 1st Duke of St Albans, an illegitimate son of King Charles II and his mistress Nell Gwynne, whereupon Diana became Duchess of St Albans. Together Beauclerk and Diana had 12 children. More

Sir Godfrey Kneller, (1646-1723)

Isabella, Duchess of Grafton (c. 1688-1723) and her son Charles Fitzroy, later 2nd Duke of Grafton (1683-1757)

oil on canvas 

94 x 57¼ in. (238.8 x 145.4 cm.)

Isabella Bennet FitzRoy, 2nd Countess of Arlington and Duchess of Grafton (c. 1668–7 February 1723) was a British peer, heiress, and the daughter of Henry Bennet, 1st Earl of Arlington, a Royalist commander, by his wife Isabella de Nassau (1633–1718). Henry was created Baron Arlington for his loyalty to the crown. Lord Arlington was later further raised in the peerage to the titles of Earl of Arlington and Viscount Thetford, all of which were created with special remainder to allow women to inherit.

Isabella was married at the age of four to Henry FitzRoy, Earl of Euston (later created Duke of Grafton), the nine-year-old illegitimate son of King Charles II. The wedding ceremony was repeated on 7 November 1679 and they lived at Euston Hall. Isabella and her husband had one son, Charles FitzRoy, 2nd Duke of Grafton, who succeeded both his parents as 2nd Duke of Grafton and 3rd Earl of Arlington. After her first husband's death in 1690 from a wound received at the storming of Cork while leading the forces of William of Orange, the Duchess of Grafton remarried on 14 October 1698 to Sir Thomas Hanmer. More

Sir Godfrey Kneller, (1646-1723)

Margaret Cecil, Countess of Ranelagh (1672-1728)  

Signed 

c. 1690-91

Oil on canvas

124.5 x 101.5 cm

Margaret Cecil, Countess of Ranelagh (1672/1673 – 21 February 1728) was a British courtier. Lady Margaret was the daughter of James Cecil, 3rd Earl of Salisbury and his wife Margaret, a daughter of the Earl of Rutland. She first married John Stawell, 2nd Baron Stawell; he died in 1692 without their having any issue, although Crofts Peerage states they had one daughter, Anne. She later married Richard Jones, 1st Earl of Ranelagh on 9 January, either 1695 or 1696; Crofts states they had no issue. Her third husband was George Thomas Downing; the couple had a daughter Sarah Isabell Downing, and a son, George Downing. More

Sir Godfrey Kneller, (1646-1723) was the successor to Lely as the principal portrait artist at the English Court. In the 1691, he was asked by Queen Mary II to paint the ‘Hampton Court Beauties’, the eight ‘reigning toasts’ of her own Court: ‘the most beautiful site because the originals were all in being, and often to be compared with their pictures’. Mary herself was the ‘Sovereign Queen of Beauty’, a fashion trend-setter and collector of fine china. In her commission to Kneller, she was consciously paying homage to the Lely ‘Windsor Beauties’, collected by her mother a generation earlier. 

This was a passionate decadent age, where the sensuality of the Court was reflected in its portraiture, when the rewards of using your beauty to advance your ambition were manifest. Royal mistresses like Nell Gwyn were handsomely rewarded for their services; Nell’s own son by the King, Charles Beauclerk, was created Duke of St Albans, and married into the established aristocracy: Diana de Vere was the daughter of the Earl of Oxford and another of Kneller’s ‘Hampton Court Beauties’.

Beauty was not just an aesthetic experience. It was an instrument of ambition, a conduit to pleasure and a magnet for sleaze. More

Acknowledgment; Wickipeida, Historic Royal Palaces

The Windsor Beauties are a famous collection of 11 paintings by Sir Peter Lely, painted in the early to mid-1660s.

The ‘Windsor Beauties’ series, were a set of eleven portraits of celebrated women at the Restoration court. The series was commissioned, or assembled, by Anne Hyde, Duchess of York, probably around 1662-5; painted by Peter Lely (1618–1680),  depicting the most beautiful ladies of the court of King Charles II of England. 

Peter Lely (1618–1680)

Portrait of Frances Theresa Stuart, Duchess of Richmond and Lennox

circa 1662 and circa 1665

Medium oil on canvas

125.8 × 102.7 cm (49.5 × 40.4 in)

Hampton Court Palace

Frances Teresa Stewart, Duchess of Richmond and Lennox (8 July 1647 – 15 October 1702) was a prominent member of the Court of the Restoration and famous for refusing to become a mistress of Charles II of England. For her great beauty she was known as La Belle Stuart and served as the model for an idealised, female Britannia.

she caught the eye of Charles II, who fell in love with her. The king's infatuation was so great that when the queen's life was despaired of in 1663, it was reported that he intended to marry Stewart, and four years later he was considering the possibility of obtaining a divorce to enable him to make her his wife because she had refused to become his mistress.

Following the war with the Dutch, Charles had a commemorative medal cast, in which her face was used as a model for Britannia; this subsequently became customary for medals, coins and statues. She continued to appear on some of the copper coinage of the United Kingdom until the decimalization of the currency in 1971.[2] She also appeared on the fifty pence piece in 2006. More on Frances Teresa Stewart

Lely flattered his subjects, and gave each portrait a similar languorous and ‘sleepy eyed’ air, said to have been influenced by the features of the noted court beauty Barbara Villiers, Duchess of Cleveland who was painted many times by Lely. Only one of the sitters, Frances Teresa Stuart actually held the position of Maid of Honour in the Royal Household. Some of the others were noted courtesans, while others were respected members of the nobility.

Peter Lely (1618–1680)

La Belle Hamilton, Elizabeth, Countess of Gramont

circa 1663

Oil on canvas

125.1 × 101.6 cm (49.3 × 40 in)

Hampton Court Palace

Elizabeth, Countess de Gramont (née Hamilton; 1640 – 3 June 1708), was an Irish-born courtier and a lady-in-waiting to Louis XIV's queen consort, Maria Theresa of Spain. Shewas born in Strabane, Ireland. She became a member of the English court in 1661. She was described as a great beauty and became known for her judgement, charm and sensibility. She was much courted, by — among others — the Duke of York, the Duke of Richmond and the Heir of Norfolk, but she reportedly rejected them all.

She was married in London to Philibert, Count de Gramont, a French exile at the English court. "La belle Hamilton" was one of the great beauties of the English court. When Gramont was given permission to return to France, however, he left in a haste.

She followed her spouse to France in 1669, where she was made Dame du Palais to the French queen. She was a woman of considerable wit, and held her own at the court of Louis XIV, but her husband pursued his gallant exploits to the close of a long life. In 1696, her spouse was afflicted with a grave illness, and after he recovered, he turned to a religious life, in which she followed him. She died one year after being widowed. More on La Belle Hamilton

In 1674, after the death of Anne Hyde, the pictures were hanging as a group in the White Room at Whitehall. Eleven pictures are mentioned in the inventory, although only ten are identified today as belonging to the group. The series was taken from Whitehall to Windsor. During the reign of Queen Anne they were hung in the Queen’s Waiting Room and later in the Queen’s State Bedchamber. They were at Hampton Court by June 1835. More on Communication Gallery, Hampton Court Palace

Peter Lely (1618–1680)

Jane Needham, Mrs Myddleton (1646-92) with a cornucopia, possibly as Demeter

Ooil on canvas

124.1 × 101.6 cm (48.9 × 40 in)

Hampton Court Palace

Jane Myddelton or Middleton (1645–1692), was a reputed English beauty of the Restoration period. Sshe was born at Lambeth during the latter part of 1645, and baptised in Lambeth Church on 23 January 1646.

Jane was married at Lambeth Church on 18 June 1660 to Charles Myddelton of Ruabon, third surviving son of Sir Thomas Myddelton of Chirk. Myddelton and his wife lived in London and appear to have subsisted for a time upon the bounty of relatives. A legacy from Lady Needham fell in upon that lady's death in 1666, and another upon Sir Thomas Myddelton's death in the same year.

After the accession of James II, "Mrs. Myddelton" enjoyed an annual pension of £500 from secret service money. Her husband, who had for some years held a place of about £400 a year in the prize office, died insolvent in 1691. She died in the following year, and was buried beside her husband in Lambeth Church.

As a married woman was much courted by men; she is now thought to have taken just two lovers, Ralph Montagu and Laurence Hyde, 1st Earl of Rochester. Antonia Fraser writes that her life "was founded on masculine support in return for sexual favours", but also that her affairs "were seen more as a tribute paid to her great beauty". She was an amateur artist capable of contributing to the iconography of her portraits. Besides that by Peter Lely in the "Windsor Beauties" series, there was second Lely portrait (1666) commissioned by Robert Spencer, 2nd Earl of Sunderland for another series. More on Jane Needham

Peter Lely (1618–1680)

Margaret Brooke, Lady Denham (ca 1647-67)

Oil on canvas

124.5 × 101 cm (49 × 39.8 in)

Hampton Court Palace

Margaret Brook, Lady Denham,  (ca 1647-67), was married to a man twice her age. Determined to make her own way at Court and in Restoration England. The way to social advancement for a pretty young woman, was to catch the eye of the king or his brother. Her attempts to set her cap at King Charles II were thwarted by the king’s principal mistress Barbara Palmer, turning her attention to his brother, the Duke of York. By June 1666 the Duke of York was wholly given up her. Lady Denham, declared that she woul not be his mistress, but would be owned publicly.  The affair ended in tragedy with her sudden death. She believed she had been poisoned and insisted before she died that an autopsy should be carried out. No trace of poison was found but it did not allay public suspicion that her husband Sir John Denham had murdered her with a poisoned cup of cocoa at the behest of the jealous Duchess of York, an early example of death by chocolate. More on Margaret Brook

Peter Lely (1618–1680)

Frances Brooke, Lady Whitmore (d. 1690)

Frances Brooke, Lady Whitmore was the sister was Margaret Brooke, Lady Denham, above

circa 1665

Oil on canvas

124.4 × 101.3 cm (49 × 39.9 in)

Hampton Court Palace

Hon. Frances Brooke (1640 – c. 1690) was a British courtier. She was styled Hon. Frances Brooke, and then Lady Whitmore. She was granted the style of a daughter of a baron. 

Her father was Sir William Brooke (1601–1643), and her mother was Penelope Hill ( -c.1694). Frances was first married to Sir Thomas Whitmore ( -1682), had three children with him. She then married Matthew Harvey ( -c.1693/94). She lead a life of quiet domesticity away from the hurly burly of court life. More on Frances Brooke

Peter Lely (1618–1680)

Mary Bagot, Countess of Falmouth and Dorset (1645-79)

circa 1664 and circa 1665

Oil on canvas

124.3 × 101.3 cm (48.9 × 39.9 in)

Current location

Hampton Court Palace

Mary, Countess of Falmouth and Dorset (1645 – 1679) was a British courtier. She was one of the Windsor Beauties painted by Sir Peter Lely. Her portrait by Lely was erroneously named "Elizabeth, Countess of Falmouth" and also as "Countess of Ossory" in some portrait prints and books in the 18th and 19th centuries, many of which were later reprinted, compounding the error.

Her father was Col. Henry Bagot, and mother was Dorothea Arden. She married Charles Berkeley, 1st Earl of Falmouth in 1663. He died at the Battle of Lowestoft. The widowed Countess of Falmouth, lady-of-the-bedchamber to the Queen appears in the various lists of the King’s mistresses, though apparently not as one of the main contenders. She then married Charles Sackville, 6th Earl of Dorset in June 1674. This second marriage for Mary Bagot terminated after five years with her death in childbirth. More on Mary Bagot

Peter Lely (1618–1680)

Henrietta Boyle, Countess of Rochester (1646-87)

circa 1665

Oil on canvas

124.4 × 101.4 cm (49 × 39.9 in)

Hampton Court Palace

Henrietta Hyde, Countess of Rochester (née Boyle; 1646 – 12 April 1687) was an English noblewoman, daughter of the Richard Boyle, 1st Earl of Burlington, whose namesake went on to build the stunning Chiswick House. She was born in Wiltshire, England to Sir Richard Boyle, 2nd Earl of Cork and Elizabeth Boyle, Countess of Cork. In 1665 she married Laurence Hyde, 1st Earl of Rochester; becoming sister-in-law to Anne Hyde, Duchess of York. She was later Governess to Anne's daughter, Princess Anne, between 1677 and 1682 . Henrietta had four children. 

Like most of the Boyle dynasty, who in the space of two generations had become almost all-powerful in the south of Ireland, Henrietta was strong-minded and acquisitive, and could be ruthless in asserting her rights. During the last two years of her life, when her husband was Chief Minister to his brother-in-law King James II, Henrietta took full advantage of his power to claim every possible privilege. She clashed bitterly with her husband's niece, the future Queen Anne over who should have the best apartments in Whitehall Palace. She died 1687 in her 42nd year. More on Henrietta Hyde

Peter Lely (1618–1680)

Barbara Villiers, 1st Duchess of Cleveland (ca 1641-1709)

circa 1665

Oil on canvas

124.5 × 101.4 cm (49 × 39.9 in)

Hampton Court Palace

Barbara Palmer, 1st Duchess of Cleveland, Countess of Castlemaine, also known as Lady Castlemaine (27 November 1640 – 9 October 1709) was an English courtesan from the Villiers family and perhaps the most notorious of the many mistresses of King Charles II of England, by whom she had five children, all of whom were acknowledged and subsequently ennobled. Her influence was so great that she has been referred to as "The Uncrowned Queen." Her immediate contemporary was Madame de Montespan, mistress of King Louis XIV of France.

Barbara was the subject of many portraits, in particular by court painter Sir Peter Lely. Her extravagance, foul temper and promiscuity provoked diarist John Evelyn into describing her as the "curse of the nation", whereas Samuel Pepys often noted seeing her, admiringly.


Barbara's 1st cousin Elizabeth Villiers (later 1st Countess of Orkney 1657–1733) was the only acknowledged mistress of King William III. More on Barbara Villiers

Peter Lely (1618–1680)

Anne Digby, Countess of Sunderland (ca 1646-1715)

before 1666

Oil on canvas

124.9 × 101.8 cm (49.2 × 40.1 in)

Hampton Court Palace

Anne Spencer, Countess of Sunderland (née Digby; c. 1646 – 26 April 1715) was the wife of Robert Spencer, 2nd Earl of Sunderland and the daughter of George Digby, 2nd Earl of Bristol and Lady Anne Russell.

Sunderland had previously broken off their long-standing engagement. He told his friends that he had reason enough and was resolved never to have her. He soon had second thoughts and their mothers worked together to produce a reconciliation which resulted in an entirely successful marriage. She was a lady-in-waiting to Mary of Modena during the reign of James II, and was present at the birth of the Prince of Wales, signalling to the king that his new child was a boy.

She is alleged to have had an affair with Henry Sidney, Earl of Romney, her husband's uncle. Her devotion to her husband was never seriously questioned; his biographer considered that it was principally his happy marriage which sustained Sunderland through a long and unhappy life.

She had at least five children by Sunderland, only one of whom outlived her. More on Anne Digby

Peter Lely (1618–1680)

Lady Elizabeth Wriothesley, later Countess of Northumberland, later Countess of Montagu (1646-90), mother of Lady Elizabeth Percy, Countess of Ogle

circa 1665

Oil on canvas

125.7 × 103.5 cm (49.5 × 40.7 in)

Hampton Court Palace

Elizabeth Percy, Countess of Northumberland (née Wriothesley; 1646 – 19 September 1690), was a British courtier. Her father was Thomas Wriothesley, 4th Earl of Southampton, and her mother was Lady Elizabeth Leigh, daughter of the 1st Earl of Chichester.


She married Joceline Percy, 11th Earl of Northumberland, on 23 December 1662. They had two children. She traveled with her husband to Italy, where he was taken ill and died in Turin, the next year. Upon his death, being a wealthy heiress, she married Ralph Montagu, 1st Duke of Montagu, at Titchfield, Hampshire, on 24 August 1673. More on Elizabeth Wriothesley

Peter Lely (1618–1680)

Henrietta of England, Duchess of Orléans seated in a landscape

c. 1662

Oil on Canvas

Henrietta of England (16 June 1644 (26 June n.s.) – 30 June 1670) was the youngest daughter of King Charles I of England, Scotland and Ireland and his wife, Henrietta Maria of France. Fleeing England with her governess at the age of three, she moved to the court of her first cousin Louis XIV of France, where she was known as Minette. After she married Philippe of France, brother of King Louis XIV, she became known as Madame. Very popular with the court, her marriage was marked by frequent tensions. Henrietta was instrumental in negotiating the Secret Treaty of Dover prior to her unexpected death in June 1670. More on Henrietta of England

Sir Peter Lely (14 September 1618 – 30 November 1680) was a painter of Dutch origin, whose career was nearly all spent in England, where he became the dominant portrait painter to the court. Lely was born Pieter van der Faes to Dutch parents in Soest in Westphalia, where his father was an officer serving in the armed forces of the Elector of Brandenburg. Lely studied painting in Haarlem. He became a master of the Guild of Saint Luke in Haarlem in 1637. 

He arrived in London in around 1641. His early English paintings, mainly mythological or religious scenes, or portraits set in a pastoral landscape. Lely's portraits were well received, and became the most fashionable portrait artist in England. He became a freeman of the Painter-Stainers' Company in 1647 and was portrait artist to Charles I. His talent ensured that his career was not interrupted by Charles's execution, and he served Oliver Cromwell, whom he painted "warts and all", and Richard Cromwell. 

After the English Restoration in 1660, Lely was appointed as Charles II's Principal Painter in Ordinary in 1661. Lely became a naturalised English subject in 1662. 

Among his most famous paintings are a series of 10 portraits of ladies from the Royal court, known as the "Windsor Beauties", formerly at Windsor Castle but now at Hampton Court Palace; a similar series for Althorp; a series of 12 of the admirals and captains who fought in the Second Anglo-Dutch War, known as the "Flagmen of Lowestoft", now mostly owned by the National Maritime Museum in Greenwich; and his Susannah and the Elders at Burghley House.

His most famous non-portrait work is probably Nymphs by a fountain in Dulwich Picture Gallery.

Lely was knighted in 1680. He died soon afterwards at his easel in Covent Garden, while painting a portrait of the Duchess of Somerset, and was buried at St Paul's Church, Covent Garden. More on Sir Peter Lely

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7 Sculptures - Native American Wooden Kachina Dolls, Alabastor & Bronze Sculpture

Kachinas can be grouped according to their purpose. Groups of Kachinas include the following: Ogres, Guards or Warriors, Hunters, Whippers,  Runners, Chiefs, Women or Maidens, Animals, Plants, Dancers, Borrowed and Others.

Ronald Honyouti (Hopi) b. 1955

Kachina Chief

Wood and paint

11 by 4 by 5 inches

The chief kachinas are called such because of their importance to particular Hopi clans. These kachinas have spiritual roles which are akin to that of the Hopi elders. Chief kachinas have a personal interest in the well being of the clan which they are associated with and can only be portrayed in the dances by specific members of the clan.

Ronald Honyouti (Hopi) b. 1955

Longhair Mask

Wood and paint

6 1/2 by 2 1/2 by 2 1/2 inches

Longhair Kachina (Angak'tsina)   Angak'tsina is perhaps the most friendly of the friendly katsinam. He is truly a Hopi Katsina, as indicated by the traditional hair-style worn by Hopi men after their initiation into the priesthood society. Eagle fluffs are worn on the katsina's long hair and beard which represents a cloud burst or rain. They are accompanied by Yellow and/or White Corn Maidens, and their songs carry positive messages for life fulfillment of all life forms.

Ronald Honyouti (Hopi) b. 1955

Albino Kachina

Wood and paint

12 by 5 by 6 inches

Albino Kachina; his kachina was brought from Zuni by the Asa Clan when they came to Sichomovi. Since that time he has spread to the other mesas. However, Chakwaina originally came from much farther east for he has homologues in Keresan and Tanoan pueblos along the Rio Grande.

It has been stated that this kachina represents Estevan the Moor, who led Fray Marcos de Niza in search of Cibola and was killed at Zuni. This does not seem too reasonable considering the direction of his diffusion and the complex relationship of the Chakwaina group to the various pueblos where it is found. More

Ronald Honyouti was born in 1955 and has been carving Kachina dolls since the age of 12. He learned to carve from his father Clyde and his elder brother Brian Honyouti. He is known for his realistic single piece carvings which he carefully details with oil paints rather than acrylics. He has won numerous awards and in 1985 was the recipient of a Fellowship award from the South West American Indian Association (SWAIA). His carvings can be found in the collections of the Museum of Northern Arizona, the Kolbe Collection, Anthropology Museum at the University of Missouri, the Heard Museum and the University of Oklahoma Museum of Art. More

Neal David Sr

Bear Kachina

Wood and paint

12 by 5 by 6 inches

Hon (White Bear). This Kachina represents great strength. Of the Bear Kachinas, the White Bear is the most popular, because of the color contrasts against the white background. This Kachina appears in the dances and opening ceremonies of the Kachina season, which begins in December. More

Neil Randall David, Sr., Hopi/Tewa American Indian, artist and Kachina doll carver, was born June 4, 1944 on the Hopi Reservation in Polacca Arizona. David’s interest in art was stimulated at an early age. David was self-taught as an artist. He sold his first Kachina doll while a high school freshman to Byron Hunter, who managed the trading store in Polacca. He saw the young man’s talent in art and as his mentor encouraged him. Hunter bought many of David’s drawings, paintings, and Kachina carvings and sold them through McGee’s trading store. David lives and continues to create his painting and carving on the Hopi Reservation in Polacca on First Mesa, Arizona. More

Doug Hyde b. 1946

Grandma, Kitty and Me

Alabaster 

26 by 19 by 17 inches

For the last two decades, Doug Hyde has been a recognized leader among Native American artists. From images evoked by Indian lore to those reflecting the modern Native American, his work exudes emotion, strength, and beauty and is resonating of his Native American heritage. 

Hyde was born in Oregon of Nez Perce and Assiniboine background. He studied at the Institute of American Indian Art in Santa Fe and continued his studies at the San Francisco Institute of Art. Hyde then served with the army in Vietnam, and upon his return moved back to Santa Fe where he continued his work in sculpture and served as a faculty member at IAIA until 1974. 


Hyde works with a wide array of materials including marble, alabaster, onyx, limestone and bronze. His work has evolved in even greater diversity through his bronzes, a relatively new medium for Hyde. The contrast and texture he achieves by sculpting in bronze and working with different patinas is remarkable. More

Oreland C. Joe, Sr. b. 1958 CAA 

Blackfoot Ritual

Bronze

12 1/2 by 14 by 9 inches

Blackfeet ceremonies were highly symbolic in character. Ritual dances sometimes involved imitation of sacred animals. Colour symbolism was very important: red and black respectivley symbolised the sun and the moon. Geometrical figures such as the circle were used to represent the sun, moon and morning star. Today the Siksika use a logo consisting of a by a buffalo surrounded by a circle, beneath which is a peace pipe and a tomahawk. The buffalo symbolises food, shelter and clothing; the peace pipe, which crosses over the tomahawk, indicate that for the Blackfeet peace has permanently replaced war. More

Oreland C. Joe grew up on the Navajo Reservation in Shiprock, New Mexico. When his first grade teacher encouraged his crayon drawings, he decided that art was what he wanted to do with his life. His family also nurtured his talent; his father gave him drawings to copy, especially in church to keep him quiet. His mother supplied plenty of Big Chief notebooks.

After high school, Joe became an illustrator for the school print shop. But a 1978 trip to Paris was the turning point in his artistic career. He was there to perform as an Indian Hoop Dancer, but “During the day, I visited the art museums and galleries and was most struck by the gardens of Versailles. Something clicked in me when I saw the statuary. I had to know how it was done, how to use marble.”


Without any kind of formal training, Joe taught himself the rudiments of sculpture, often inventing his own tools to create the results he wanted. Today, his works in stone reflect simplistic styling and deep emotion. His own family, and the Southern Ute culture of his father inspire many of his pieces. More

Peter Fillerup b. 1953

Minnetaree Drumer © 1987

Bronze

21 by 9 by 9 inches

Peter Fillerup (b. 1953) was born in Cody, Wyoming, and grew up in the Wyoming Rockies. Living on a small ranch twenty miles east of Yellowstone National Park gave him the opportunity of firsthand observation of the colorful and legendary American West. With the wonders of nature around him and the availability of Yellowstone’s wildlife, Fillerup developed a profound respect for nature and a love for the western way of life.

His interest in sculpture came at an early age when his father, Mel Fillerup brought him his first brick of clay. “I was amazed at all the things a person could make with a piece of clay. At an early age I was making small animals,” Fillerup said. He cast two small figures while still in high school.

After high school, Peter studied sculpture. Later he went to Brigham Young University. He began an apprenticeship with one of America’s foremost sculptors, Dr. Avard Fairbanks. Fillerup’s internship lasted several years. During this time he aided in such projects as the Peace Monument erected in the International Peace Garden in Salt Lake City and the fifteen foot Angel Moroni for the Mormon Temple in Seattle, Washington. He also accompanied Dr. Fairbanks to Italy where he became familiar with the arts of enlarging and working in marble, and gained valuable training in various foundry techniques. 


Establishing himself as a western artist, Fillerup is the youngest artist to have his work accepted and displayed at the Buffalo Bill Historical Center, and was selected to erect an equestrian monument to John “Jerimiah” Johnson, that now graces Johnson’s grave at the Old West Trail Town in Cody, Wyoming. More

Acknowledgment: Altermann Galleries, Hopi Kachinas

20 Automobile Classics

1938 Delahaye 135 MS Coupe by Figoni et Falaschi

160 hp, 3,557 cc overhead-valve inline six-cylinder engine, Cotal electro-mechanical four-speed gearbox, independent front suspension with a transverse leaf spring, live rear axle with quarter-elliptic springs, and four-wheel-assisted mechanically actuated Bendix drum brakes. Wheelbase: 114 in.

A particular highlight of the mid-1930s, and arguably the height of the French coachbuilt era, was Figoni et Falaschi’s introduction of the Goutte d’Eau, or teardrop streamliners, which were built as coupes and cabriolets on both Delahaye and Talbot-Lago chassis. 


Although teardrop cars were made in relatively small numbers, they were so immediately eye-catching that they became instant icons, and they remain so today. This particular example of Figoni coachwork was built on Delahaye’s Type 135 chassis, a model that was introduced in 1935 at the Paris Salon and was enthusiastically received. It proved delightful to drive, producing 160 horsepower in this most-powerful MS configuration. Of its performance, The Motor wrote in 1938, “There are few cars with such superb roadholding and steering, such performance, and such instantly responsive controls.”

1956 BMW 502 Cabriolet by Baur

Only 57 examples built

BMW aficionados will recognize the 502 as a special model in the famed German marque’s pantheon. It had been derived from the 501 saloon—the first automobile manufactured and sold by BMW after World War II—and was a significant step in the evolution of BMW’s reputation for luxury and performance.

The 501 was introduced in April 1951 at the Frankfurt Motor Show and was heralded as BMW’s emphatic return to motoring. It made an immediate impression, with its solid engineering and luxurious appointments, it was very much an elite automobile. Peter Szymanowski, one-time head of BMW design, preserved traditional BMW cues, including the double-kidney grille and flared fenders. The 501, as well as the 502, was nicknamed the “Baroque Angel,” for its flowing, curvaceous looks. 

The 502 was introduced in 1954, making it post-war Germany’s first V-8-powered car, as it had a 2.6-liter engine with an aluminum alloy block that was capable of churning out 100 horsepower. It was said to be Germany’s fastest production sedan, with an open-road speed of 100 mph, and it could easily outpace Mercedes-Benz competitors. Beyond improved performance, the 502 distinguished itself with elegant interior fittings and an exterior ornamented with additional chrome trim. Standard features on the car included fog lamps and individual front seats. The 502 was available in saloon, coupe, and two-door and four-door cabriolet versions. 

BMW entrusted Baur, a respected Stuttgart coachbuilder, to produce the cabriolet and coupe bodies, as BMW production facilities had been compromised by the war. Baur had been building BMW convertibles since the 1930s and was well acquainted with BMW’s high standards. From the time the 502 Cabriolet was introduced for 1956, 57 two-door cabriolets were produced by Baur. The cars were sold through the BMW dealer network and built to order. Buyers had to be affluent, as the list price was DM 21,900, as well as patient, since delivery could take upwards of six months. The combination of price and patience made ownership of a 502 an exclusive investment.

1927 Stutz Vertical Eight Custom Black Hawk Two-Passenger Speedster by Robbins

The fastest American-built production car of 1927

110 bhp, 298.6 cu. in. SOHC inline eight-cylinder engine, three-speed manual transmission, solid front axle and live rear axle with semi-elliptic leaf springs, and four-wheel hydraulic drum brakes. Wheelbase: 131 in.

The 1927 Black Hawk Speedster was the modern successor to the legendary Stutz Bearcat of the Brass Era, and it was the first “boattail” speedster to be produced by a major American manufacturer. With its powerful straight-eight engine, which was fed by dual Zenith carburetors, and a strong chassis with underslung worm drive and lightweight Robbins bodywork, it was able to capture the Stevens Trophy Cup at Indianapolis, as well as the AAA Stock Car Championship.

1952 Kurtis Kraft 4000 “Bowes Seal Fast" Special

One of approximately 15 built; certified AACA champ car

Est. 350 bhp, 270 cu. in. DOHC inline four-cylinder engine with methanol fuel injection, two-speed racing transmission, front independent suspension with leaf springs, live rear axle with torsion bars, and four-wheel disc brakes. Wheelbase: 96 in.

The legendary Frank Kurtis reached his zenith during the 1950s, when he produced four Indianapolis-winning cars. At one point, the Indy 500 lineup included as many as 23 cars of his manufacture, which was an unheard-of feat. Kurtis Kraft was incredibly diverse and prolific, unlike no other American race car builder in history. In addition to Indianapolis cars, the company produced midgets, sprint cars, sports cars, quarter midgets, and even aircraft-starter carts.

The Kurtis Kraft 4000 was first produced in 1951, and it is believed that as many as 15 examples were built. The model was designed as a traditional upright car that could be equally comfortable on the bricks at Indianapolis or the dirt tracks of the AAA championship circuit. Attractive styling and workhorse abilities gave the KK 4000 an amazing lifecycle as a race car, and many were still being actively run on the dirt champ circuit throughout the early 1960s.

1952 Fiat 500C Topolino

1952 Mille Miglia, Fiat 500C captured 1st place in the Turismo Nazionale 750 class.

16 hp, 34.9 cu. in. OHV inline four-cylinder engine with a single carburetor, four-speed manual transmission, independent front suspension with a transverse leaf spring and wishbones, live rear axle with radius rods and quarter-elliptic springs, and hydraulic drum brakes. Wheelbase: 78.7 in.

The 1952 Fiat 500C Topolino Transformable is a later example of the innovative Fiat 500 produced between 1936 and 1955, which is sometimes called the most popular, stylish, and best-loved small car of its time.

The 569-cubic centimeter (34.9-cubic inch) engine was mounted “backwards,” with the radiator located behind the engine, and in 1952, it could produce 16 horsepower, which was delivered through a modern four-speed manual transmission. A single Solex carburetor fed fuel to the engine from a 6.1-gallon gasoline tank. Its top speed (originally 53 mph) had risen to 59 mph by 1952, which was aided by a 4.875:1 rear end and perhaps a sympathetic downhill stretch of road.

1964 Ferrari 250 GT/L Berlinetta 'Lusso' by Scaglietti

250 bhp, 2,953 cc DOHC V-12 engine, four-speed manual gearbox, independent front suspension with unequal-length A-arms and coil springs, live rear axle with semi-elliptical leaf springs and parallel trailing arms, and four-wheel hydraulic disc brakes. Wheelbase: 94.5 in.

Appearing for the first time in prototype form at the Paris Motor Show in October 1962, Ferrari’s 250 GT/L, or Lusso (for Luxury) as it became known, was instantly regarded as one of the most exquisitely proportioned Ferraris ever built. Ferrari’s intentions with the car were laid bare in its nomenclature; this new Ferrari was to beautifully combine power, performance, comfort, and elegance in order to create the world’s finest high-speed grand tourer.

The Lusso was considered a design triumph for Pininfarina and the coachbuilder Scaglietti. Its elegant lines were reminiscent of the 250 GT SWB Berlinetta but were more sensuous and far less aggressive, in an effort to reflect the character of the car. Characterized by its Kamm tail and thick C-pillars, the design helped to bathe the car’s interior in natural light and greatly reduced any blind spots for the driver.

As this was the final car of the 250 series, this would be the last time this engine was fitted to a Ferrari, as its replacement would be the 3.3-liter 275 engine. Production concluded in late 1964, and by that time, a modest quantity of just 350 examples were produced. 

1993 JAGUAR XJ220

One of only 281 examples built between 1992 and 1994

542 bhp, 3,498 cc DOHC V-6 engine with twin turbochargers and Zytek fuel injection, five-speed manual transmission, independent front and rear double-wishbone suspension with coil springs, and four-wheel disc brakes.

In 1992, the XJ220 was the latest and greatest Jaguar sports car and more than worthy of being mentioned in the same breath as its forefathers. Like its predecessors, it was clothed in svelte and aerodynamic bodywork and its origins were rooted in Jaguar’s rich motorsport heritage. The car was conceived by Jim Randall, the then director of engineering, who was inspired by Jaguar’s sports racers of past. Randall brought a model he built into work and it was decided that it would be made into a full-scale concept. He then recruited a band of volunteers to get to work on the car, as a quasi-skunk-works project that would challenge the fastest automobiles on the planet.

1966 Shelby 427 Cobra

Est. 410 bhp, 427 cu. in. “side-oiler” V-8 engine, Ford Toploader four-speed manual transmission, independent front suspension with unequal-length upper and lower wishbones, coil springs, and telescopic dampers, independent rear suspension with unequal-length upper and lower wishbones with additional lower trailing links, coil springs, and telescopic dampers, and four-wheel hydraulic disc brakes. Wheelbase: 90 in.

With Shelby’s leadership, the era’s top drivers, and many other racing luminaries, the Ford-powered, AC Ace-derived Cobra was brutally quick and dead reliable, earning its stripes and winning virtually everywhere it appeared. The Cobra won the U.S. Manufacturers' Championship three years running in 1963, 1964, and 1965, and with the sleek Pete Brock-designed Daytona coupe, Shelby American Inc. won the hotly contested 1965 FIA World Manufacturers' Championship.

The cars were fiercely quick. Driving one continues to be a mind-bending experience. One of the most memorable stories about the 427 Cobra involves a test arranged for Sports Car Graphic magazine by Shelby’s Ken Miles. A few years earlier, Aston Martin claimed that their DB4 was capable of accelerating from zero to 100 mph and back down to zero in less than 30 seconds. Miles had the idea to restage the test using the new 427 Cobra. The result, according to SCG Editor Jerry Titus, was an astounding 13.2 seconds!

2008 Koenigsegg CCXR
SWEDEN’S SUPERCAR

1,018 bhp, 4,700 cc DOHC aluminum V-8 with twin Rotex centrifugal superchargers, six-speed manual transmission, four-wheel independent suspension with double wishbones and two-way adjustable VPS gas-hydraulic shock absorbers, and four-wheel ventilated carbon-ceramic disc brakes. Wheelbase: 104.7 in.

Koenigsegg began building their first production car, the CC8S, in 2002. Remarkably, it was instantly lauded as one of the best supercars ever built and was crowned the World’s Most Powerful Production Car by The Guinness Book of World Records.

Its replacement, the CCR, took to the Nardo ring in Italy in 2005, where it reached a top speed of 388 km/h, besting the record held by the McLaren F1 for nearly seven years, to become the world’s fastest production car.

The CCXR can run on regular petrol or pure E85 or in any mixture in between as it features flex-fuel technology. While running on normal petrol, the CCXR’s engine can produce 806 brake horsepower, but when fueled by E85 ethanol, the car can produce a monstrous 1,018 brake horsepower, allowing Koenigsegg to reclaim its title as the producer of the world’s fastest production car. 

A 0–100 km/h sprint takes 3.1 seconds, doubling that in just 8.9 seconds. Furthermore, accelerating from a stop to 200 km/h and braking back down to a full stop again takes only an incredible 13.7 seconds.

The CCX holds the 7th fastest lap time on the Top Gear test track, and the CCXR is even faster than its non-E85 powered sibling. It was named #1 Power Car by the German magazine Power Cars in 2008 and Forbes Magazine called the CCXR "One of the 10 Most Beautiful Cars in History" in 2009.

1952 Jaguar XK120 Supersonic by Ghia
One of three built with Giovanni Savonuzzi’s Supersonic coachwork

Est. 220 bhp, 3,442 cc DOHC inline six-cylinder engine with triple Weber two-barrel carburetors, four-speed manual transmission, independent front suspension with solid rear axle and semi-elliptical leaf springs, and four-wheel drum brakes. Wheelbase: 102 in.

Much as aircraft design influenced the automobiles of the 1920s, the emerging aerospace industry and rocket technology influenced styling of the early 1950s. With supersonic speeds finally achieved, it was natural that an automobile would emerge dubbed the Supersonic—and that it would come out of Italy, the forefront of worldwide automotive styling at the time.

The Supersonic was created by Ghia designer Giovanni Savonuzzi and originally appeared on a Conrero-tuned Alfa Romeo 1900 entered in the 1953 Mille Miglia. Its ultra-streamlined curves, appearing to have been stretched in aluminum over a chassis, would be copied on a small run of Fiat 8V chassis, an Aston Martin, and no fewer than three Jaguar XK120s.

1940 Aston Martin Speed Model Type C
23 full competition-specification Speed Models were produced

125 bhp, 1,949 cc SOHC inline four-cylinder engine with twin SU carburetors, four-speed manual transmission, front and rear live-axle suspension, and four-wheel Lockheed hydraulic drum brakes. Wheelbase: 102 in.

By the mid-1930s, Aston Martin was one of the most admired of British sporting marques. They were purposeful, solidly engineered, hand-built, quick, and agile.

In early 1936, a new engine, was being developed. Two liters in capacity, it was producing about 25 percent more power than the previous 1½-liter engine. These Works engines eventually produced 125 brake horsepower. A decision was taken to design a new chassis into which it could be fitted. This was to become the Speed Model, the first two purpose-built in 1936 to uphold the extraordinary successes for Aston Martin at Le Mans in 1934 and 1935.

The planned entry in the 1936 24 Hours of Le Mans race did not take place due to a labor action by French workers, so the two factory team cars were quickly sold to defray the costs of development. However, work did progress on more than half of the remaining chassis required to homologate the car for Le Mans. These had a mix of coachwork styles, as, for the first time, there was not a single readily recognizable body for a production Aston Martin. The last eight cars to be assembled, late in 1939 and into 1940, had very unusual steel-framed bodies designed by Claude Hill (the “Type C”), with a real emphasis on aerodynamic efficiency. 

1958 Aston Martin DB2/4 Mk III Drophead Coupe
Only 84 Mk III Drophead Coupes were built

178 bhp, 2,922 cc DOHC inline six-cylinder engine with three SU H6 carburetors, five-speed manual transmission, independent front suspension with coil springs, live-axle rear suspension with coil springs and radius rods, and hydraulic front disc and rear drum brakes. Wheelbase: 99 in.

Aston Martin was left to pick up the ashes at the end of World War II and try their best to get back on their feet. Luckily, the company was rescued from liquidation by an industrialist by the name of David Brown. While the first post-war Aston, the 2-Litre Sports, only found 14 buyers, the car that followed would be a resounding success, with its W.O. Bentley-designed six-cylinder engine appropriated from Lagonda, which Brown acquired in parallel with Aston Martin.

The DB2 was introduced in 1949 in prototype form, and it incorporated everything that anyone could ever want from a sports car at the time. The next model was named the DB2/4, in reference to the occasional rear seating found below a folding panel. By 1957, 1,175 DB2s and DB2/4s had been sold, as the company was still a boutique operation. Then, the final and most sophisticated version of the line, often just called “DB Mark III,” added 551 units to the total by 1959.

This final DB2-series iteration is central to Aston Martin’s heritage, as it is the first production Aston Martin to feature the marque’s now trademark grille, which appeared on later versions of the legendary racer, the DB3S. The updated “DBA” engine benefitted from a stiffer block, stronger crankshaft, high-lift camshafts, and bigger valves. 

1933 Duesenberg Model SJ 'Riviera' Phaeton by Brunn

Three Duesenberg Model Js were built with Brunn & Company’s beautiful Riviera Phaeton body, a four-door convertible sedan with a disappearing convertible top. The latter was quite an engineering feat for such a large top, which bundles neatly and then swings back under the reverse-hinged rear deck. The effect is of clean lines and abundant power, which is appropriate, as two of the Riviera Phaetons were originally installed on supercharged chassis—the Phaeton.

The important period for this car was not when it was new but in its “used car” years, what we would today refer to as the enthusiast age of car collecting, when the men who gathered old cars were generally not wealthy but simply eccentric gearheads with a passion for keeping old iron running.

1910 American Underslung Traveler Toy Tonneau

50 bhp, 499.2 cu. in. T-head inline four-cylinder engine, three-speed manual transmission, front and rear semi-elliptical leaf-spring suspension, and rear-wheel expanding drum brakes. Wheelbase: 122 in.

The American Underslung, a factory-bestowed nickname of sorts, not a model name, was one of the foremost automobiles built in Indianapolis, in an era when the Crown City was another Midwestern center of motor car production. Designed by Fred Tone, it featured an advanced chassis design that ran under and dipped between the axles, lowering the car’s body closer to the ground and, therefore, also its center of gravity. This resulted not only in beautiful, slinky styling—the E-Type of its era—but in superb handling to match the performance of brutal T-head four-cylinder engines. The American was expensive and worth it: a beautifully constructed performance car that represented the best of American performance at the time.

American built the Underslung model from 1907 until 1914, with various engines and in various sizes. It is the four-passenger Traveler that is perhaps the most desired today, on account of its dramatic four-passenger Toy Tonneau styling, with close-coupled lines incorporating a snug rear seat for two, which is tucked into the back, along with dual rear-mounted spares.

1967 Jaguar E-Type Series 1 4.2-Litre Roadster

265 bhp, 4,235 cc DOHC inline six-cylinder engine with three SU carburetors, four-speed manual transmission, independent front suspension with transverse wishbones, torsion bars, telescopic shocks, and an anti-roll bar, independent rear suspension with lower transverse tubular links and twin coil springs, and four-wheel Dunlop twin-circuit hydraulic disc brakes. Wheelbase: 96 in.

Launched in 1961 at the Geneva show, the E-Type echoed the sensation of its predecessor, the XK120, by offering an astonishing performance package with amazing speed and handling. In many ways, it revolutionized and invigorated the sports car market, which has never been the same since. Its brand-new four-wheel independent suspension, in particular, was so well conceived that it would be used by Jaguar for over 30 years.

The Series 1 4.2 model featured a 4.2-liter engine with three SU carburetors, a fully synchronized transmission, a fully instrumented dashboard with toggle switches, a center console and armrests, a steep windshield, and taillights mounted high above the bumper line on the rear deck, echoed by parking lights that are mounted high on the front fenders. This combination of features, along with its top speed of 140 mph, has made this among the most desirable of all E-Types—a user-friendly and sporty driver that also looks absolutely stunning.

1954 Mercedes-Benz 300 SL Gullwing

215 bhp (DIN), 240 bhp (SAE), 2,992 cc SOHC inline six-cylinder engine with Bosch mechanical fuel injection, four-speed manual transmission, coil-spring independent front suspension, coil-spring and swing-axle rear suspension, and four-wheel hydraulic drum brakes. Wheelbase: 94.5 in.

Mercedes-Benz’s 300 SL claimed 2nd in the Mille Miglia, 1-2-3 in the Sports Car Race in Berne, Switzerland, 1st and 2nd at Le Mans, 1-2-3-4 at the Nürburgring, and 1st and 2nd at La Carrera Panamericana. 

The “SL” moniker (translated to English as Sport Light) reflected the pioneering use of a welded, tubular-steel, ultra-light frame construction that weighed only 182 pounds. The car also featured fully independent suspension in addition to its fuel-injected, 3.0-liter (2,996 cubic centimeter), OHC straight-six with dry-sump lubrication, and the motor was inclined to the side in order to reduce the height of the front end. The power, rated at 240 brake horsepower at 6,100 rpm (SAE) and 215 brake horsepower at 5,800 rpm (DIN), with the factory-optional or dealer-installed “sport” camshaft, was delivered through a four-speed manual gearbox. A 161-mph top speed and 0–60 acceleration of approximately eight seconds, depending on the rear-end ratio selected from five options, made the 300 SL the fastest production automobile of its time.

The production 300 SL made its debut in the United States, not in Germany, which was a Mercedes first. More than 1,000 of the 1,400 cars produced between 1954 and early 1957. The 300 SL was as much a status symbol in its time as it is today, as it was favored by everyone from Hollywood stars to racing legends to genuine royalty.

“A thoroughbred in every sense of the word,” advertising boasted, “and a car which will be recognized by all enthusiasts as the ‘last word’ in sporting automobiles; a car which puts indescribable pleasure into driving!”

1960 Mercedes-Benz 190 SL.

120 bhp, 1,897 cc inline four-cylinder engine with two Solex 44PHH carburetors, four-speed manual transmission, independent dual-wishbone front suspension with coil springs and tube shocks, rear single-pivot swing axle with coil springs and tube shocks, and four-wheel hydraulic drum brakes. Wheelbase: 94.5 in.

The automotive world was turned upside down in February 1954 when Mercedes-Benz unveiled the 300 SL Gullwing Coupe and 190 SL Roadster on its stand at the New York International Motor Sports Show. The two cars had been conceived by American auto importer Max Hoffmann to appeal to the growing appetite for fashionable sports cars in the United States, and they were designed by Mercedes-Benz only after Hoffmann guaranteed to buy a sufficient number to justify production.

While the Gullwing would figure in the dreams of schoolboys for years to come, it was the practical nature of the 190 SL, with its comfortable seats, well-tailored convertible top, and roll-up windows enveloped in lines that echoed those of the Gullwing, that promised something different than the current sports cars coming from Europe. Both cars were in production by the end of 1955, and Grace Kelly was driving a silver 190 SL on the movie screen, with Frank Sinatra as her passenger in the movie High Society.

1915 Rolls-Royce 40/50 HP Silver Ghost Limousine by Hamshaw

50 bhp, 7,428 cc L-head inline six-cylinder engine, four-speed manual transmission with direct-drive fourth gear, live front and rear axles with semi-elliptical front and cantilever rear leaf-spring suspension, and rear drum brakes. Wheelbase: 138 in.

Chassis 2BD was one of the very last Silver Ghosts built prior to World War I and, therefore, one of the last with the  iconic early “parallel bonnet” styling. Following testing, the chassis was delivered to coachbuilders H.A. Hamshaw Ltd., of Leicester, and fitted with a handsomely designed and beautifully appointed limousine body—one of reportedly only five they constructed for Rolls-Royce chassis.

1935 Auburn Eight Supercharged Speedster

Model 851. 150 bhp, 280 cu. in. L-head inline eight-cylinder engine with a single two-barrel carburetor and Schwitzer-Cummins centrifugal supercharger, three-speed manual transmission with a Columbia dual-ratio rear axle, solid front and rear axles with semi-elliptical leaf springs, and four-wheel hydraulic drum brakes. Wheelbase: 127 in.

In the days when Bugattis crossed France and 4½-Litre Bentleys tore through the British countryside, the American equivalent was the Auburn Speedster. Indiana’s Auburn Automobile Company revealed its first version of this dashing body style, inspired by a Duesenberg show car, for the 1928 model year and would offer variations on the theme through to the end of production in 1936.

The 1935–1936 Speedsters were designed by the legendary Gordon Buehrig. Audacious by the standards of their time, they featured curvaceous bodywork with a straight hood line shooting back from the radiator to a sharply vee’d windshield, down between pontoon fenders, over gently sloping doors, and descending in a graceful taper to the rear bumper. It was this distinctive rear design, elegantly outlined by chrome and striping, that gave the Speedster its everlasting nickname, “the boattail.”

Each Speedster bore on its dashboard a plaque inscribed, “This certifies that this AUBURN AUTOMOBILE has been driven 100.8 miles per hour before shipment.” It was signed by David “Ab” Jenkins, the speed record driver who achieved some of his greatest successes at Bonneville behind the wheel of a late Auburn Speedster.

1954 Talbot-Lago T26 GSL

210 bhp, 4,482 cc OHV inline six-cylinder engine, four-speed Wilson pre-selector transmission, independent front suspension with coil springs, live rear axle with leaf springs, and four-wheel drum brakes. Wheelbase: 114.2 in.

By 1952, sales of the 2.65-meter short-wheelbase Talbot-Lago Grand Sport chassis had dwindled to almost nothing, and the company was in dire financial straits. The writing was on the wall, yet Anthony Lago refused to give up the fight. Talbot-Lago had absolutely no money with which to develop a completely new sports car chassis, but Lago’s engineering genius remained, and he put it to good use.

The Grand Prix-derived T26 Grand Sport chassis with transverse-leaf front suspension was quietly dropped. To create his new car, Lago redesigned, lightened, and shortened the existing Lago Record chassis to a wheelbase of 2.90 meters. It was a good choice; with its independent front suspension by coils, it had proven to have excellent road manners and sporting driving qualities.

The magnificent six-cylinder T26 engine was given three inverted Solex carburetors but was otherwise left alone, as it was already one of the most powerful and strongest passenger-car engines in the world. Power was up by 20 horsepower to 210 horsepower at 4,500 rpm. For a short time, Lago could glory in the fact that the new model was to be the fastest chassis in the world. On these gratifying underpinnings, a slinky factory body was mounted to a design by Carlo Delaisse, a prolific freelance designer who, in terms of creativity, can be seen as a French Giovanni Michelotti.

The new model was named the T26 GSL, or Grand Sport Longue, and made its debut at the Paris Salon in October 1953. Since the new GSL carried a factory body, there were only detail differences between the cars that were built. Somewhere between a third and half of production have an air vent in the front fender while the rest do not. A few cars were given a two-tone paint scheme, with the roof, including the A- and C-pillars, in a contrasting color to the body. The show cars at the Paris salons were given wide whitewall tires, but some cars had blackwalls for road use.

Acknowledgment: Sothebeys, RM Auctions